ABSTRACT This essay focuses on the formative first two decades of the Berlin International Film Festival. Based upon archival material from Berlin and the United States, it offers a historically informed account of the emergence, evolution, and meanings of the Berlinale, which was established in 1950/51 at the suggestion of a U.S. film officer in the western half of divided Berlin. The essay is structured around three themes. 1) The politics and intended function of the Berlinale: how it was justified and branded early in the Cold War as a showcase for western, democratic, and commercial values. 2) Audiences and outreach: how festival organizers recruited participants and attracted audiences, including strategies to lure East Germans. 3) The relationship between the Berlinale and the reconstruction of German film culture following Nazi defeat and military occupation, particularly in light of postwar concerns of West German officials, religious leaders, cultural elites, and film-industry personnel. Moving beyond the cold-war origins of the Berlinale, the essay examines the festival in relation to postwar German film politics, an enlivened German film festival scene, and domestic debates about the proper role and control of film culture in the transition from fascist to democratic practices.

中文翻译：

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柏林国际电影节：在冷战政治与战后重新定位之间

摘要本文重点介绍柏林国际电影节的前二十年。它以柏林和美国的档案资料为基础，从历史角度介绍了柏林电影院的出现，演变和意义，该电影院是在1950/51年美国电影官员在分裂西半部的建议下成立的柏林。本文围绕三个主题展开。1）柏林电影节的政治和预期功能：在冷战初期如何证明其合理性和品牌形象，以展示西方，民主和商业价值。2）观众和外展：节日的组织者如何招募参与者并吸引观众，包括吸引东德人的策略。3）柏林电影节与纳粹失败和军事占领之后的德国电影文化重建之间的关系，特别是考虑到战后西德官员，宗教领袖，文化精英和电影业人员的担忧。这篇文章超越了柏林电影节的冷战起源，考察了与战后德国电影政治有关的电影节，活跃的德国电影节场面以及有关从法西斯主义向民主的过渡中电影文化的适当作用和控制的国内辩论。实践。